Lonely in Hong Kong IV
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This photographic base was shot in Hong Kong.
Printed on Fine Art Hahnemühle Hemp Natural Line 290 g/m2.
Each print comes signed and numbered.
Unframed. With a small white border. Send in a tube.
Print size 90 x 75 cm - Edition of 10
Print size 60 x 50 cm - Edition of 10.
Print size 30 x 25 cm - Edition of 10.
Print size 10,5 x 14,8 cm (DIN A6) - Edition of 100.
Through the gaps in the curtain—where the city whispers and the hand hesitates.
Lonely in Hong Kong IV is a photograph that feels like a silent question mark, lingering in the middle of a sentence you weren’t ready to write. Thomas Haensgen captures less of what is seen and more of what is suggested. The camera frames a fragmented silhouette—a torso, a hand hovering between control and surrender—against a backdrop of an urban skyline that fades into a metaphysical stage.
The image echoes the minimalist intimacy of Edward Hopper, though without his rigid geometry and with a touch of David Lynch’s ambiguity. It’s a composition of light, shadow, and curtains that forces the viewer to focus on the in-between—the thin black lines of the curtain that obscure yet illuminate, like the pauses in a jazz composition that make the silence audible.
Haensgen’s work recalls the fragmented bodies of surrealist photography, like Man Ray’s, but with a contemporary twist. Where Ray’s subjects were often objectified, here the body becomes both subject and a dialogue with the external world. This image might be a memory fragment—an “I was here” slipping through one’s fingers before it dissolves. It invites the viewer to stop, trace the line between skin and shadow, and wonder: What does it mean to see when the essence always lies hidden?
Print size 10,5 x 14,8 cm (DIN A6) - Edition of 100.
Through the gaps in the curtain—where the city whispers and the hand hesitates.
Lonely in Hong Kong IV is a photograph that feels like a silent question mark, lingering in the middle of a sentence you weren’t ready to write. Thomas Haensgen captures less of what is seen and more of what is suggested. The camera frames a fragmented silhouette—a torso, a hand hovering between control and surrender—against a backdrop of an urban skyline that fades into a metaphysical stage.
The image echoes the minimalist intimacy of Edward Hopper, though without his rigid geometry and with a touch of David Lynch’s ambiguity. It’s a composition of light, shadow, and curtains that forces the viewer to focus on the in-between—the thin black lines of the curtain that obscure yet illuminate, like the pauses in a jazz composition that make the silence audible.
Haensgen’s work recalls the fragmented bodies of surrealist photography, like Man Ray’s, but with a contemporary twist. Where Ray’s subjects were often objectified, here the body becomes both subject and a dialogue with the external world. This image might be a memory fragment—an “I was here” slipping through one’s fingers before it dissolves. It invites the viewer to stop, trace the line between skin and shadow, and wonder: What does it mean to see when the essence always lies hidden?
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